Margot Robbie’s LuckyChap production company is passing GO to collect more than $200 by partnering with Hasbro to develop and produce Monopoly, a film adaptation of the classic real estate board game. Hasbro Entertainment also produces alongside LuckyChap.
Eighty-nine years ago, Hasbro’s Monopoly began dividing families, ending friendships, and creating chaos as players argued and haggled for properties that would boost their income and drive others to bankruptcy. Monopoly is the most popular board game in history in more than 100 countries, with countless themed versions in addition to the original. During a round of Monopoly, players pick from a collection of pieces, from a Top Hat to a Scottish Terrier, a Classic Car, an Iron, the mighty Thimble, and others, to travel around a board while buying up properties. If a rival player lands on an owned space, they must pay rent or risk a verbal battle with the land owner. Hasbro has sold over half a billion copies of Monopoly since 1935. That’s a lot of hurt feelings, trips to jail, and Free Parking.
“Monopoly is a top property – pun fully intended. Like all of the best IP, this game has resonated worldwide for generations, and we are so excited to bring this game to life alongside the wonderful teams involved at Lionsgate and Hasbro.” LuckyChap said about joining the production effort for Monopoly.
“I could not imagine a better production team for this beloved and iconic brand than LuckyChap,” said Lionsgate Motion Picture Group Chair Adam Fogelson. “They are exceptional producers who choose their projects with great thought and care, and join Monopoly with a clear point of view. We are tremendously excited to be working with the entire LuckyChap team on what we all believe can be their next blockbuster.”
Finally, Zev Foreman, Head of Film for Hasbro Entertainment, said, “As one of the most iconic games in the world, Monopoly provides an incredible platform for storytelling opportunities. We are thrilled to have the unique vision of LuckyChap and Lionsgate alongside us to bring this historic piece of popular culture to the big screen.”
Plot details for Monopoly remain a mystery. How would you set this concept up? Who would you cast in the film? Will the Monopoly Guy play a part in the story? I hope so!
It’s always fun to discuss horror novels that AREN’T Stephen King. No knock on the monster from Maine, he’s the master of horror novels over the last, oh I don’t know, 50 years, for a reason but its nice to not have the show be solely dedicated to his adapted works. He says knowing that he makes the schedule and decides what books to cover. See you in May, Mr. King! Funnily enough, the man actually loved today’s subject to the degree that he called it one of 2006’s best horror novels, but more on that in a little bit. The Ruins (watch it HERE) was one of those hot properties by an author whose previous work was an instant success with critics, fans, and studio executives that put it to celluloid. The book came out and just two years later we were given a movie adaptation that had a lot of the original authors’ work in it, mostly because he wrote the screenplay too. While they came out two years apart and were both written by the same person, just how close do these two versions come to each other? Keep your vine cutting machete handy as we find out what happened to this adaptation.
The Movie
The Ruins is the 2008 horror film that was released on April 4th, 2008, by DreamWorks and Paramount as the production company and distributor. 2008 was an interesting year for horror with Zombie Strippers obviously being the highlight of the year. All joking aside, I was still at Blockbuster when that gem came in on the Thursday shipment. The Strangers is almost certainly the film with the longest legacy, but we also had Saw V and the American remakes of Rec with Quarantine, The Eye, and Shutter. Elsewhere we had Best Horror You Never Saw candidate Eden Lake, Mirrors, and great value Escape from New York flick Doomsday which is derivative but gives us some fun Bob Hoskins action so I can’t complain too much. In a lot of ways, The Ruins should have been one of the most commercially viable films of the year but boy, did it flop and flop hard making 22 million on its 25-million-dollar budget. It’s hard to say why here, too, as neither March nor April had a murderer’s row of releases in 2008. Maybe it just wasn’t a good time for cinema.
The movie was written by academy award nominee Scott Smith. His nomination was for adapted screenplay on the criminally underrated Sam Raimi non horror movie A Simple Plan. He has also written the Keanu Reeves vehicle Siberia and TV show The Peripheral. The Ruins was directed by Carter Smith, no relation, who also doesn’t have a ton to his name but did just come out with 2023’s The Passenger. In front of the camera talent is a lot more recognizable here with Jonathan Tucker, Jenna Malone, Shawn Ashmore, Laura Ramsey, and Joe Anderson leading the cast. Tucker is a great that guy actor that has similar intensity to a Ben Foster. My favorite work of his has to be from the final season of Justified but for horror fans he is also in Westworld, the 03 Texas Chainsaw remake, the Pulse remake, and a Masters of Horror episode. Malone has been around longer than you remember, showing up in Contact in 1997, and even though the Hunger Games series may be one of her biggest series, she’s been in a lot more. Donnie Darko, Sucker Punch, and The Neon Demon are her standout genre flicks but her list is quite long. Shawn Ashmore is of course Iceman in the early 2000s X-Men movies but the dude was in Animorphs. ANIMORPHS!. His portfolio also has awesome TV show The Following, underseen horror Frozen where they do NOT, in fact, build a snowman, and even video games like Quantum Break and Man of Medan. Laura Ramsey had quite the early 2000s with stuff like Lords of Dogtown and She’s the Man but also showed up in peak early 2000s horror like Venom and The Covenant. Finally Joe Anderson has been a constant screen presence for nearly 2 decades. He appeared in The Gray, Becoming Jane Austen, and Across the Universe but also genre takes like The Crazies remake, Horns, and the awesome Hannibal TV show. While the movie underperformed, it is easy to find streaming and has an unrated cut to find with an alternate ending too.
The Story
The Ruins is one of only two novels from, well, academy award nominee Scott Smith. His other novel was A Simple Plan that was adapted by Sam Raimi with Bill Paxton and Billy Bob Thornton. Growing up, he was a fan of stalwarts Clive Cussler and Stephen King as well as Ray Bradbury. He graduated from both Dartmouth and Colombia with master’s in writing and decided to take it up full time. While he only has the two novels, both of which got screenplay adaptations from him, he also has some short stories to his name and several other screenplays that we listed above. Writing The Ruins actually stalled a little bit as he wrote the screenplay for A Simple Plan. It got so bad that he wasn’t sure he was ever going to finish it but the movie rights were purchased even before it’s completion. That will certainly give you the motivation to complete a novel.
The book was released in the summer, July 18th, 2006, and became a huge hit. It was a big seller and was critically acclaimed, especially by the aforementioned Stephen King who called it one of the best horrors of the year and that it did for travel what Jaws did for going in the water. It’s a shame he only has these two wildly different works and I’d love to see him surprise us with another work. Either way, he has a great legacy to hold onto for future generations to discover. Especially big ol nerds like me who like to look at the differences between books and movies.
What is the same?
The Ruins follows friends Jeff, Amy, Stacey, and Eric are on a group vacation in Mexico where they run into a German tourist named Mathias who is looking for his brother Henrich. They are joined by another group member and end up at an archaeological dig where the locals chase them to the top after Amy steps on some seemingly innocuous vines while the local villagers make a perimeter and keep them stranded on the site. The group hears a cell phone coming from an opening that leads into a shaft and when they lower one of their group members, the rope breaks and they break their back. After a tense night, the group finds that vines have worked their way into one of their legs through a cut but also eaten away the legs of the person who broke their back all the way to the bones. Thet decide as a group to amputate both legs to try and stave off infection and give their friend a chance to live. The vines suffocate one of the group as another grows increasingly paranoid of the vines growing inside of them.
A couple of them travel down into the shaft to find the cellphone that they heard earlier but to their horror, it is the vines mimicking the sound to trap and kill them. the group member that has the vines inside them has one of the others remove them but then continues to dig them out on their own before attempting to be stopped. Driven crazy, they stab the person trying to help through the heart. They then ask to be mercy killed and are obliged by the remainder of the friends. One of the last remaining of the group is killed by the Mayans and we see a new group heading to the site to repeat the cycle again.
What is different?
This is one of those cases of the original author probably wanting to mix things up a bit from page to screen. You know, for funsies. While the characters, for the most part, are the same, the events and order of things are a bit different. While there is a secondary group in both book and movie, the book has Pablo who is one of the Greek tourists while the movie has Dimitri who is Mathias’s friend from the start. The location is different too. The book posits the group on a vine covered hill that has a shaft in the middle while the movie moves the proceedings to a Mayan temple that serves the same purpose.
Dimitri is shot and killed early on in the movie while it is Pablo instead of Mathias that breaks his back in the book. In the movie it is Stacey that has the vines intrude into her body and the book has that fate slated for Eric. While there is a paralyzed party in both, Mathias dies earlier than Pablo in the book via suffocation. In the book, Amy is suffocated after getting drunk and Jeff is killed by the Mayans while trying to flee during a storm. Eric is stabbed by Stacey in the movie, but it is Mathias who is stabbed fatally by Eric in the novel. Certainly the biggest change is with the endings. The book see’s Stacey as the last of the group alive and with no food and no hope, she ends her life in the hope that she will be a slit wrist beacon lighthouse to ward off any on comers, especially the remaining friends that Pablo left a note for. The movie has two possibilities, the theatrical and alternate ending, both of which differ pretty wildly from the source material. Amy is the last remaining of the group and she escapes with the help of Jeff who sacrifices himself to the Mayan weapons. In one ending, Amy escapes and that’s the end of it. In the alternative ending, She ends up not surviving her encounter and some familiar vines end up on her gravestone.
Other than the novel being a bit more nihilistic and a downer, the vines intelligence and quite frankly their menace is leaned into a bit more in the book too. It is one long expression of terror with no chapters to break it up and is a lot longer than its cinema fantastique counterpart.
Legacy
Sadly, the movie flopped and flopped badly. That’s a shame because I really enjoyed it and was equally excited when its unrated version came out on DVD at Blockbuster. It moves quickly and succinctly through its story; has all the earmarks of a good horror film and I personally think that its one of the better from the late 2000’s and that year specifically. The book is a well written and engrossing piece of fiction from an author that only has one very different novel to his name. I wont call it a tie so I’ll lean just a little bit towards the movie but this is an easy recommendation for both with the differences being fun and fresh. Seek them both out and regardless of which one you prefer, be careful on vacation and be on the look out for vines that may be more than they appear.
A couple of the previous episodes of WTF Happened to This Adaptation? can be seen below. To see the other shows we have to offer, head over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
CinemaCon is in full swing. Studios are unveiling some new exclusive pictures and information at upcoming projects. We’ve gotten first looks at movies like Beetlejuice Beetlejuice and trailers for Trap and The Joker: Folie à Deux. Some promotional materials have shown a look at Gladiator II and Wolverine’s new mask for Deadpool & Wolverine. Recently, Amazon MGM has revealed some new footage of the upcoming Christmas comedy Red One, which stars Dwayne Johnson, Chris Evans and J.K. Simmons.
Deadline reports on the ten minutes that Amazon has screened for the CinemaCon audience. First off, while this is a movie that has been set for Prime Video, the footage is said to be very theatrical and it is revealed that Red One will indeed be hitting theaters on November 15. Not much can be said by way of details as those who saw the footage are instructed to keep their lips sealed. However, the publication does say that “Red One is a fire-breathing Christmas action movie that completely reinvents the holiday genre. […] Red One is a really fun original action film for both Johnson and Evans, and it’s a world building piece of IP which lends itself to potential sequels set around different holidays.”
Additionally, while Amazon MGM was on the dock, they would run down the list of upcoming titles on the studio’s slate. The company has confirmed that many of their titles would be getting theatrical releases. “In total, 11 big screen titles are planned into 2026 with more to-be-announced.” Some of the other films announced are:
The Nickel Boys – A movie from Brad Pitt’s Plan B production company that will hit theaters this year. The movie is based on Colson Whitehead‘s Pulitzer Prize-winning novel and starring Oscar nom Aunjanue Ellis (King Richard).
Crime 101 – A film directed by Bart Layton based on the Don Winslow novella, which is set to be released in 2025.
After the Hunt– A new film from Challengers director Luca Guadagnino. Julia Roberts stars in the film which is produced by Imagine Entertainment’s Brian Grazer and Allan Mandelbaum and Guadagnino’s Frenesy banner. The movie is an intense dramatic thriller about a college professor (Roberts) who finds herself at a personal and professional crossroads when a star pupil levels an accusation against one of her colleagues and a dark secret from her own past threatens to come to light.
Project Hail Mary – A Ryan Gosling astronaut movie set for 2026 in which he also produces. The film is written by Drew Goddard and will be directed by Phil Lord and Christopher Miller. In addition to Gosling, producers on the project include Lord, Miller, Aditya Sood, Amy Pascal, Rachel O’Connor, and Andy Weir.
These upcoming releases will join Amazon MGM’s other titles, including Challengers (April 26), My Old Ass (Aug 2), The Fire Inside (Aug 9), Blink Twice (Aug 23), Levon’s Trade (Jan. 17, 2025), and Mercy (Aug. 15, 2025).
Attendees expecting to see a preview of director Guy Ritchie‘s World War II spy action comedy film The Ministry of Ungentlemanly Warfare during the Lionsgate panel at CinemaCon today were surprised to see a trailer for the next Ritchie movie Lionsgate will be releasing after The Ministry of Ungentlemanly Warfare, a “huge heist action movie called” In the Grey, which stars Jake Gyllenhaal and Ungentlemanly cast members Henry Cavill and Eiza Gonzalez!
JoBlo’s own Chris Bumbray was in the audience, and he reports that it looks to be “a good buddy movie for Cavil and Gyllenhaal.” Apparently Lionsgate is hoping In the Grey will launch a franchise.
Cavill came out on stage after the trailer was shown and “made a joke about his Ungentlemanly Warfare facial hair, saying he enjoyed it as opposed to ‘a controversial mustache’ at one point in his career. Lionsgate is investing heavily in Cavil as he’s doing Highlander for them as well.”
While we wait to hear more about In the Grey, including a release date, Lionsgate is gearing up to release The Ministry of Ungentlemanly Warfare (which is set to reach theatres on April 19th). Based on the book “The Ministry of Ungentlemanly Warfare: How Churchill’s Secret Warriors Set Europe Ablaze and Gave Birth to Modern Black Ops” byDamien Lewis, that film has the following synopsis: Based upon recently declassified files of the British War Department and inspired by true events, The Ministry of Ungentlemanly Warfare is an action-comedy that tells the story of the first-ever special forces organization formed during WWII by UK Prime Minister Winston Churchill and a small group of military officials including author Ian Fleming. The top-secret combat unit, composed of a motley crew of rogues and mavericks, goes on a daring mission against the Nazis using entirely unconventional and utterly “ungentlemanly” fighting techniques. Ultimately, their audacious approach changed the course of the war and laid the foundation for the British SAS and modern Black Ops warfare.
Cavill and Gonzalez are joined in the cast by Alan Ritchson (Reacher), Alex Pettyfer (In Time), Hero Fiennes Tiffin (After We Fall), Babs Olusamokun (Dune), Henrique Zaga (Beyond the Universe), Til Schweiger (Inglourious Basterds), Henry Golding (Snake Eyes), and Cary Elwes (ThePrincess Bride).
Are you looking forward to The Ministry of Ungentlemanly Warfare and/or In the Grey? Let us know by leaving a comment below.
Fill the cannons with stuffed animals and watch the fluff fly as Eli Roth’s Borderlands takes the Lionsgate stage at CinemaCon! The annual entertainment event is in full swing after yesterday’s Warner Bros. panel and reveal of Todd Phillips’s Joker: Folie à Deux trailer. With film and television fans fired up about upcoming releases, Lionsgate is ready to take them to a wasteland where kooky characters try to kill each other, and a fabled vault of riches awaits.
The Last of Us showrunner Craig Mazin wrote the initial screenplay for Borderlands but removed his name from the project after the script was rewritten by Roth, Juel Taylor, Tony Rettenmaier, Joe Crombie, Chris Bremner, and Sam Levinson. Zak Olkewicz wrote scenes for Miller during the reshoots. Elements from drafts Aaron Berg and Oren Uziel wrote before Mazin have reportedly made their way into the film as well. So there were a lot of cooks in the kitchen on this one.
During the Lionsgate panel at CinemaCon, the studio screened an extended trailer for the crowd. JoBlo’s editor-in-chief, Chris Bumbray, says the footage gives Guardians of the Galaxy vibes, with non-stop ’70s needle drops. The action makes for a fun, heavily comedic sci-fi romp.
When Eli Roth took the stage, he said he made Borderlands in the vein of all the movies he loved as a kid, like Raiders of the Lost Ark and Mad Max. Regarding Cate Blanchett, Roth says he wanted to remove the conductor stick from her hand and replace it with a flamethrower. He said she was down because Escape from New York is one of her favorite movies.
When Ariana Greenblatt joined Roth on stage, Lionsgate was clearly proud to have her on the project, recognizing her immense talent. Chris says she looks quite funny in the movie while playing Tiny Tina. Eli Roth was sold on her when she auditioned and said Natalie Portman in The Professional was one of her favorite roles. He ended up hooking her up with movies like My Dinner with Andre and Andy Warhol’sWarhol’s Empire – originally just to f*ck with her, but she ended up loving them. On set, Roth was also always blasting Michael McDonald’s music
The film stars Cate Blanchett, Kevin Hart, Edgar Ramirez, Jamie Lee Curtis, Ariana Greenblatt, Florian Munteanu, Haley Bennett, Olivier Richters, Gina Gershon, Cheyenne Jackson, Charles Babalola, Benjamin Byron Davis, Steven Boyer, Bobby Lee, Ryann Redmond, Penn Jillette, and Janina Gavankar, who plays “a new, key character” called Commander Knoxx, someone who has not been in the video games. Jack Black provides the voice of the robot Claptrap.
Here’s the synopsis: “Lilith (Blanchett), an infamous outlaw with a mysterious past, reluctantly returns to her home planet of Pandora to find the missing daughter of the universe’s most powerful S.O.B., Atlas (Ramirez). Lilith allies with an unexpected team – Roland (Hart), a former elite mercenary, now desperate for redemption; Tiny Tina (Greenblatt), a feral pre-teen demolitionist; Krieg (Munteanu), Tina’s musclebound, rhetorically challenged protector; Tannis (Curtis), the scientist with a tenuous grip on sanity; and Claptrap (Black), a persistently wiseass robot. These unlikely heroes must battle alien monsters and dangerous bandits to find and protect the missing girl, who may hold the key to unimaginable power. The fate of the universe could be in their hands – but they’ll be fighting for something more: each other.”
Borderlands is produced by Arad Productions’ Avi Arad and Ari Arad, along with PICTURESTART’s Erik Feig. Gearbox founder Randy Pitchford serves as executive producer with Strauss Zelnick of Take-Two Interactive. James Myers and Aaron Edmonds are overseeing the project for Lionsgate. At the same time, Emmy Yu does the same for Arad Productions, and Lucy Kitada and Royce Reeves-Darby are overseeing at PICTURESTART.
Two years have passed since Jeff Sneider of The Ankler reported that he had heard Lionsgate is interested in returning to the world of the 1999 hit The Blair Witch Project (watch it HERE), and now that project is officially moving forward under the guidance of Blumhouse Productions! Lionsgate and Blumhouse have made a multi-picture pact that will see Blumhouse reimagining horror classics from the Lionsgate library – and the development and production of a new The Blair Witch Project is the first project on that slate. This announcement was just made today by Adam Fogelson, chair, Lionsgate Motion Picture Group, and Jason Blum, founder and CEO of Blumhouse.
Blum will be producing the new Blair Witch with Roy Lee, who previously produced the 2016 film Blair Witch.
Fogelson provided the following statement: “I have been incredibly fortunate to work with Jason many times over the years. We forged a strong relationship on The Purge when I was at Universal, and we launched STX with his film The Gift. There is no one better at this genre than the team at Blumhouse. We are thrilled to kick this partnership off with a new vision for Blair Witch that will reintroduce this horror classic for a new generation. We couldn’t be more pleased to be working with them on this and other projects we look forward to revealing soon.“
Blum added: “I’m very grateful to Adam and the team at Lionsgate for letting us play in their sandbox. I’m a huge admirer of The Blair Witch Project, which brought the idea of found footage horror to mainstream audiences and became a true cultural phenomenon. I don’t think there would have been a Paranormal Activity had there not first been a Blair Witch, so this feels like a truly special opportunity and I’m excited to see where it leads.“
What do you think of Blumhouse Productions heading up a reimagining of The Blair Witch Project? Share your thoughts on this one by leaving a comment below.
Last year, a Production Weekly listing claimed that Oliver Park, who previously directed the 2022 horror film The Offering, contributed to the anthology A Night of Horror: Nightmare Radio, and directed an episode of the show Strange Events, would be directing a new Blair Witch movie, but that didn’t pan out. Now we’ll have to wait and see who Blumhouse chooses to direct their version of The Blair Witch Project.
PLOT: In the United States, amid a brutal civil war, a team of journalists drive from New York to Washington D.C, where they’ve been promised an interview with the president.
REVIEW: A24 is the only movie studio I know of that’s picked up a cult following of its own. Their brand has become one of the most trusted among discerning film fans, delivering a slew of interesting, provocative movies that fit all genres. In some ways, they are a throwback to an older kind of filmmaking in that they’ve never focused on chasing franchises and have always been filmmaker-focused. They’ve always taken risks, and it’s paid off more than it hasn’t. However, their latest film, Civil War, is arguably their riskiest movie, sporting their biggest budget (north of $50 million) and subject matter that could be seen as a bit of a political powder keg.
For me, it marks Alex Garland’s most ambitious and perhaps his best work as a director. Civil War, while a war film, is likely scarier than anything you’ll see in a movie theater this year. Indeed, Garland’s depiction of a fractured America half destroyed by war is unsettling in a way that hits too close to home. While many have taken issue with the idea that it would center around Texas and California joining forces to take on the rest of the country (which is led by a fascist president played by Nick Offerman), there’s a reason for this. Garland strategically pairs a notoriously red state with a notoriously blue one in that his war isn’t painted as one party against another. If anything, the film is a desperate plea that we have to find some common ground, and the war is presented as a tragedy rife with atrocities on both sides, with neither side being racially homogenous.
Garland’s film cost a reported $50 million, but it looks like it cost at least twice that, with Civil War jampacked with visceral action sequences that look especially impressive on an IMAX screen. The story is told through a group of embedded journalists, none of whom are presented with any explicit bias. Many of the battle sequences are shot in a way that makes it confusing which side is which, serving the movie’s ultimate purpose, which is to depict the tragedy of a civil war that finds fellow citizens killing their own.
Kirsten Dunst has possibly her best role as Lee, a burnt-out photographer who’s dulled herself to the chaos she sees around her so much that none of it registers as much more than an opportunity to take a photo. Her humanity is somewhat rekindled when her Reuters colleague Joel (Wagner Moura), a hot-shot addicted to the adrenalin rush of the job, invites a young photographer to join them on the road. Cailee Spaeny’s Jessie is shown to be reckless and green, with no survival instinct at all, leading Lee to take her under her wing. The three are joined by Stephen McKinley Henderson’s Sammy, who is dead set on covering the war until its end despite his age and mobility issues.
Most of the film centres around their violent cross-country odyssey. Each town they visit puts them in the line of fire as they encounter vigilantes, reckless journalists, war deniers, and a dangerously unhinged soldier in the movie’s standout scene (played by a terrific Jesse Plemons in a small, potent role).
Dunst’s portrayal is believable, with her fitting the portrait of a former hot shot, celebrity journalist worn down by the job to a tee. Looking believably tired and worn, she always holds your sympathy and makes for an ideal companion on this cinematic journey into the inferno. The movie seems heavily inspired by Haskell Wexler’s Medium Cool, with her performance similar in some ways to Robert Forster’s in that film in that she’s become so indifferent to the chaos around her that nothing registers anymore. Spaeny is tasked with playing the opposite role. She’s a live wire that feels everything, constantly putting her in danger. Meanwhile, Henderson’s Sammy is the voice of reason, while Moura’s hot shot Joel is the reckless one who, at one point, admits that a firefight happening near them is making him “hard.”
Garland shoots the film in a way that presents some graphic imagery, like a man being set on fire, in a shockingly matter-of-fact way. It’ll be an experience many will find hard to shake, with Rob Hardy’s IMAX visuals helping make this one of the most visceral and immersive films in recent years. It’s all complimented by a terrific soundtrack by composers Ben Salisbury and Portishead’s Geoff Barrow. It contains some unique and powerful needle drops, including an ironic use of De La Soul and two songs by the punk band Suicide.
It’ll be interesting to see how general audiences react to Civil War, as it’s controversial by design. It asks us to take a long, hard look at what’s happening around us and demands that we look beyond politics and recognize what we have in common rather than what we don’t. It’s a plea for peace in that, like other movies of this nature, notably the apocalyptic drama The Day After, it dares to show us hell in the hope of keeping it from ever happening.
The Writers Strike really threw a wrench into many productions, with few coming out unscathed. And Season Three of Chucky certainly had a difficult time getting cameras rolling. So they started without creator/showrunner Don Mancini on set and were able to get just four episodes filmed before the Actors joined suit. Now after the strikes have been settled and they were able to finish up the season with their full creative force, we are being treated to the second half of Season Three.
From the suburbs to a reform school to the White House, the series has gone through quite a change. But even still, I’d argue that the heart of what makes Chucky is still there. Heck, this show features some of the most violent kills in the entire franchise, and it’s airing on cable! I was lucky enough to see the second half of Season Three and fans are in for quite the ride. I talked to the cast about the challenges of filming after a forced break, as well as what it’s like to be bathed in blood for weeks on end. Make sure you check out the interview above as I had an absolute blast talking to this cast.
Chucky Season Three Part Two synopsis:
In Chucky’s unending thirst for power, season 3 now sees Chucky ensconced with the most powerful family in the world — America’s First Family, inside the infamous walls of the White House. How did Chucky wind up here? What in God’s name does he want? And how can Jake, Devon, and Lexy possibly get to Chucky inside the world’s most secure building, all while balancing the pressures of romantic relationships and growing up? Meanwhile, Tiffany faces a looming crisis of her own as the police close in on her for “Jennifer Tilly’s” murderous rampage last season.
Writer/director Damien Leone had a budget of around $55,000 to work with on his breakout horror film Terrifier, and a budget of “a little over” $250,000 for Terrifier 2, which was a massive hit when it was released last year, earning $15.1 million at the box office. The release of the second film went so well, it’s no surprise to hear (via Variety) that the companies behind these movies – Cineverse and Bloody Disgusting – are re-teaming with the distribution banner Iconic Events Releasing for the theatrical release of Terrifier 3 on October 25th. While Variety was reporting on the theatrical distribution, the film’s star Lauren LaVera was taking to social media to share a picture that was taken of her on the set of Terrifier 3. You can check that out right here:
This is what peak trauma-acting looks like #Terrifier3
Terrifier 3 has the following synopsis: Art the Clown is set to unleash chaos on the unsuspecting residents of Miles County as they peacefully drift off to sleep on Christmas Eve. That’s why Christmas lights can be seen in LaVera’s picture.
David Howard Thornton is reprising the role of Art the Clown, a character who was first introduced in Leone’s 2013 anthology All Hallows’ Eve. Lauren LaVera is back as Terrifier 2 heroine Sienna and Elliot Fullam returns as Sienna’s brother Jonathan. Samantha Scaffidi is returning as Terrifier and Terrifier 2 character Victoria Heyes. Chris Jericho, who had a cameo in Terrifier 2, is also back in Terrifier 3 – but he has let everyone know that his appearance in the film won’t last very long.
Leone has said that this new sequel will be going back to the tone of the first movie, as he’s aiming to make the third film the scariest, goriest, and most depraved of the bunch. He’ll be pulling back on the mystical/fantasy element that was so prevalent in the second film, and is also aiming to make sure this one will be less than two hours long, since the second one surpassed the two hour mark. If you’re worried that Terrifier 3 might wrap the franchise up as a trilogy, have no fear. Leone knows that horror franchises always continue, and anything’s possible once the supernatural gets involved. So even if he brings a sequel to a satisfying conclusion for himself as the creator of the franchise, the door can always be opened to more sequels.
Brad Miska, Cineverse VP of business development and managing director of Bloody Disgusting, had this to say about the Iconic Events Releasing distribution deal: “Iconic absolutely crushed it for us with Terrifier 2. When the film went viral, they did a tremendous job keeping up with the hype and helped us secure thousands of screens across the country. With several months to plan, we know they’re the perfect partner to help us take the franchise to the next level with Terrifier 3.“
Steven Menkin, president and co-founder of Iconic Events Releasing, added: “Iconic Events is thrilled to be able to continue our partnership with Cineverse and showcase the next Terrifier film in the only way it’s meant to be seen … on the big screen. The response from fans for Terrifier 2 was overwhelming and we are excited to give them more of everything that they have come to expect from the Terrifier theatrical experience.“
Are you looking forward to seeing Terrifier 3 during its theatrical run later this year? Let us know by leaving a comment below.
While Kevin Costner is busy promoting his upcoming two-part Western at CinemaCon, he’s making headlines by saying he’d “love” to return for the final episodes of Yellowstone. Costner’s Yellowstone exit caused quite a stir, with the actor going so far as to threaten a lawsuit, saying he’s owed $12 million for the second half of season five. Will Costner return as John Dutton for the final episodes of the series? Let’s see what he has to say.
Speaking with Entertainment Tonight, Costner said, “I’d like to be able to do it but we haven’t been able to … I thought I was going to make seven [seasons] but right now we’re at five. So how it works out — I hope it does — but they’ve got a lot of different shows going on. Maybe it will. Maybe this will circle back to me. If it does and I feel really comfortable with [it], I’d love to do it.”
Costner’s statement is tricky. He reportedly wanted to approve storylines for his character and have a direct hand in deciding Dutton’s fate. However, like many creators, Taylor Sheridan might prefer something other than giving Costner creative control.
“[Dutton] needs to be proactive in what happens and I’ve kind of had my own fantasy how [the character’s final arc] might be,” Costner added. “But that’s Taylor’s thing. I said as much to him a while back. I had thoughts how it could happen, but we just have to see.”
Costner’s words could be moot, seeing as the scripts for the second half of season five are complete, and production is likely to begin shortly. There’s also a chance Sheridan will want to avoid being bothered with Costner after returning to the drawing board following the actor’s exit. Rewriting the second half of Yellowstone could have been challenging, and scrapping the new ideas to bring Costner back to the fold is a significant hurdle.
What do you think about Costner’s desire to return to Yellowstone to “finish the story?” Is this verbal gesture too little, too late? Is Sheridan’s best move to soldier on without Costner and then focus on his other shows? Let us know what you think in the comments section below.
